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  1. Goldeneye 64 Orchestrated

    The soundtrack to the legendary hit game, Goldeneye 64 has been orchestrated and released online by long time Bond fan music contributor, Rich Douglas.

    The album, to be released by Joypad Records, has received praise from the original composer, Grant Kirkhope. It features 15 tracks that include music from levels such as Facility, Surface and Caverns – and not excluding the excellent cues from the Watch/Pause screen, the Logos and Briefing screens, and a supurb James Bond theme.

    We sat down with Douglas so we could discuss the album, his thoughts on the game, and what he has planned for the future.

    continue reading…

    David Winter @ 2013-08-19
  2. CBn reviews Skyfall – Bond back to his roots

    At the end of Casino Royale, I was like a little kid with a big grin on my face. Goosebumps. The film was a massive success. As the credits rolled for Quantum of Solace, it left me in a state of shock. Disappointed. What did I just watch? Before the screening of Skyfall, a friend asked me to recall the plot of Quantum, and, I had difficulty. It just didn’t work. After Casino being such a perfect Bond film, following on from the disastrous Die Another Day, you really couldn’t believe that they could crash down again.

    Skyfall is the calibre of Bond film that should have followed Casino.

    continue reading…

    David Winter @ 2012-10-16
  3. Helicopters fly through Tower Bridge for Olympics

    Two helicopters have flown through Tower Bridge in London, filming footage  that is believed to appear in the James Bond feature to open the Olympic games this summer.

    Is this the helicopter Daniel Craig will climb down from for London 2012?

    Yesterday evening, a helicopter with a camera mounted on the front followed a second sporting the colours of the Union Jack through Tower Bridge in central London.

    The Port of London Authority has confirmed the filming was related to the upcoming Olympic Games.

    This news fits in well with the recent rumours that Daniel Craig would be opening the London 2012 Olympic Games by climbing down a rope ladder attached to a helicopter, hovering above the Olympic stadium.

    Filming with Daniel Craig has already taken place at Buckingham Palace, with a cameo from Her Majesty the Queen also. The feature is being directed by Danny Boyle.

    Thanks to @ash_matadeen for the tip off.

    David Winter @ 2012-06-10
  4. Skyfall videolog: Costume

    In the latest official videolog, costume designer, Jany Temime, talks about how she worked with Tom Ford on suiting up 007 for Skyfall.

    David Winter @ 2012-06-07
  5. Omega announces Skyfall Seamaster watch

    Omega are to produce a special edition Seamaster watch to conincide with the release of Skyfall in October.

    5,007 of the Seamaster Planet Ocean 600M SKYFALL watches will be produced, which feature the 007 logo in place of the number 7 on the watchface.

    continue reading…

    David Winter @ 2012-06-06
  6. Carte Blanche press release

    Press Release

    The new James Bond book, due to be published later this year and written by best-selling thriller writer Jeffery Deaver, is to be called Carte Blanche. Its title and cover artwork are unveiled today (Monday 17th January), at a special launch event at the InterContinental Hotel in Dubai.

    Like Fleming, Jeffery Deaver takes inspiration from exotic locations around the world, and after visiting Dubai for the Emirates Airline Festival of Literature last year he decided to set part of Carte Blanche in the United Arab Emirates City.

    Carte Blanche is due to be published by Hodder and Stoughton in the UK, a few days before Fleming’s birthday, on 26th May 2011. It has been commissioned by Ian Fleming Publications Ltd.

    Jeffery Deaver comments, “I’m really excited about being back in Dubai. It is an inspirational and awe-inspiring city and makes a perfect Bond location—especially for a novel that pushes our hero to new extremes.”

    Regarding the book’s title, Deaver added, “In the world of espionage, giving an agent carte blanche on a mission comes with an enormous amount of trust and constantly tests both personal and professional judgement. Part of the nonstop suspense in the novel is the looming question of what is acceptable in matters of national and international security. Are there lines that even James Bond should not cross?”

    Unlike the most recent James Bond book, Sebastian Faulks’ period piece Devil May Care, Jeffery Deaver’s Bond will have a contemporary setting. As part of his latest assignment, the modern-day secret agent travels with Emirates Airline and spends a number of thrilling hours in Dubai both meeting up with an old friend and tracking a very disturbing villain.

    The novel’s setting encompasses Deira and Port Saeed, and the history of the Emirates provides an exciting backdrop for some heart-stopping action.

    Bond is renowned for visiting the most exotic and glamorous of cities and this is the first time Dubai has featured in a James Bond novel.

    Jeffery Deaver will be making a special appearance at Emirates Airline Festival of Literature, on Tuesday 18th January, when he will be speaking about his love of Bond and his experience of writing Carte Blanche.

    Carte Blanche also features Fleming’s favourite car – a Bentley. Historically, Bond owned three Bentley cars in the course of the fourteen original novels written by Ian Fleming and, bringing the plot completely up to date, Bond drives a Bentley Continental GT in the new book.

    Jeffery Deaver has written 28 novels and sold more than 20 million books worldwide. He is best known for his Kathryn Dance and Lincoln Rhyme books, most notably The Bone Collector, which was adapted for film in 1999, starring Denzel Washington and Angelina Jolie. Before becoming a full-time author, Deaver was a journalist, like Fleming, and attorney. He started writing suspense novels on the long commute to and from his office on Wall Street. His books are now translated into 25 languages and he lives in North Carolina.

    David Winter @ 2011-01-17
  7. Classified Dossier: James Bond's (literary) agent

    This article also appears in the March-April issue of CRIMESPREE Magazine, www.crimespreemag.com.

    The Official Secrets Act has been compromised. MI6 has learned that James Bond 007 had a literary agent who was responsible for bringing most of the famous agent’s printed exploits to the world. The man has been identified as one Peter Janson-Smith, known to the publishing world in the United Kingdom as one of the most reputable, honest, and business-savvy authors’ representatives in the country. Fortunately, CommanderBond.net has obtained the security clearance necessary for an exclusive interview with Janson-Smith.

    Written by Raymond Benson

    When asked how he became a literary agent, Janson-Smith explains that any ex-members of Oxford university serving in the army during World War II were entitled free of charge to have on demobilization the services of an employment appointments board. It was December 1946 and Janson-Smith had just been released from his service as a major—a radar specialist in charge of an anti-aircraft battery that was part of London’s defenses against the Germans.

    “I went to see these nice people and informed them of my wish to work in publishing,” Janson-Smith relates. “Lo and behold, the chap I was talking to looked up something and said, ‘Oh, yes, the Oxford University Press wants someone to take charge of Bible sales in Africa.’ I said, ‘No, thank you very much.’ As there wasn’t much else on offer there, I started to leave; but the man said, ‘Hold on, I just had a letter, it’s somewhere on my desk. Man says he’s a literary agent; I don’t know what that is, but it sounds like something to do with publishing.'” Indeed, the letter was from A. D. Peters, a famous literary agent in England. He was looking for an ex-service man to be his assistant. “So I wrote to A. D. Peters and had an interview. And he took me on! That was in London, and I was paid seven pounds a week.”

    The rest, as they say, is history. It took another ten years, some of them at Curtis Brown, before Janson-Smith struck out on his own as an agent; but once he did, he represented some of Britain’s best known authors, including Ian Fleming, Eric Ambler, Anthony Burgess, and Richard Holmes, the now-famous literary biographer.

    Peter Janson-Smith. Photo by Tim Hawkins

    Janson-Smith was born September 5, 1922, in a little village called Navestock in Essex, which is now more or less overtaken by the sprawl of greater London. His father, Edgar Janson-Smith, was the vicar of the Church of England there, and his mother, Alice Whitney, was from County Wexford in Southern Ireland.

    “The hyphenated name was a result of my father wishing to please his future in-laws,” Janson-Smith says. “When he was born, he was given the name Edgar Janson Smith, with no hyphen. Janson was my father’s mother’s family name and they originally came from Yorkshire. Actually it was I’anson, but it became Janson. At that time there was much more snobbery around, and Smith was not considered a particularly suitable name for a lady. My mother’s family thought, ‘What, she’s going to marry a Smith?’ But then they learnt of the Janson and considered that was rather nice, so my father changed his surname. It was quite easy to do then and from then on he would be known as Janson-Smith; but he didn’t drop Janson as a Christian name, so he actually became Edgar Janson Janson-Smith!”

    When he was around three years old, Janson-Smith’s family moved to Wimborne St. Giles in Dorset, which he describes as a wonderful and beautiful place to spend his childhood years. He was shipped off to Salisbury in Wiltshire at the age of eight to prepatory school. In the old English tradition, unless one lived in London, a child became a boarder, living there for the whole term and going home only for holidays. “We had an extraordinary headmaster who was a canon, a priest of the Church of England, but that didn’t stop him from having some pretty disgusting habits,” Janson-Smith remembers. “He was a sadist and he used to beat the younger boys regularly. He would give us some task to do like learning a poem and give us thirty minutes to do so, and if you didn’t learn it he would beat you. Of course, knowing you would probably be beaten, you couldn’t learn it. This dreadful man used to make us take our trousers down so he could beat us—what he really wanted was to have a good look at young boys’ arses!” Janson-Smith recalls the headmaster’s sharp and sudden end very well. “One of my friends, a contemporary of mine, was the son of a famous New Zealand general. He was one of the boys who had been beaten and he told his father. The general appeared in full uniform, carrying a horsewhip. He called out, ‘Where are you? Out! Out!’ and went into the headmaster’s study. Everyone could hear the whip cracking. Well, the headmaster resigned the next day!” The school was then taken over by the assistant headmaster. “He was a wonderful man,” Janson-Smith says. “He taught me all the basics. I was quite a good Latin scholar, but my main subject of interest was mathematics.”

    Public school was next (Janson-Smith laughs, saying, “A public school means it’s private!”). At the age of fourteen, he went to Sherborne, in Dorset. In a public school there is what is called Sixth Form, which is like American high school. Once there, students are prepared to go to university. “I actually enjoyed the annual examinations,” Janson-Smith recalls. “I liked sitting exams. There were other boys who did better than me during the term, but as I enjoyed exams I didn’t get stressed when I took them, so I did very well at them. I was still there when the war broke out.”

    Janson-Smith went to university in March 1941. While attending St. Edmond Hall at Oxford, he volunteered to join the Royal Artillery, knowing he’d be then allowed to finish his examinations and wouldn’t be called up until then. Janson-Smith obtained what was called a Wartime Degree, allowing him to finish in less than half the normal time, and he didn’t go back after the war. When at Sherborne he switched from science and mathematics to English Language and Literature, he remembered the headmaster of the school (“Another religious madman”) saying, “What’s all this I hear about you wanting to read English at Oxford? English is your own language, boy, you don’t have to study that!” Janson-Smith explained to him that it was the Literature he was learning about, but the man didn’t seem to grasp that—all he could fathom was rugby football.

    At the end of June 1942, Janson-Smith joined the army. He was posted to an officer training unit in Wales and emerged in January of ’43 as a 2nd Lieutenant. He was posted to an anti-aircraft battery in London and became part of the defenses of the city for the duration of the conflict. “I saw no action face-to-face, but quite a lot of bombs were being dropped on us, as well as the V-1s, the flying bombs, you know.” Janson-Smith became the regiment’s adjutant and later a major in charge of a battery. “I became the radar specialist, and it was very interesting. I didn’t understand it completely, it didn’t make me an electronics expert by any means, but I did learn it well enough to operate the equipment and train other people.”

    Raymond Benson, Doug Redenius (VP of the Ian Fleming Foundation), and Peter Janson-Smith in London.

    The gun emplacement was built behind a pub that had been wired up with alarms, so the men could be in the pub and jump into action when needed. The place was run by an elderly couple whose son was away in the army, so they came out of retirement to run the establishment. “One night the whole top of the roof was blown off by a bomb. As soon as the alert was over, we rushed in to see what had happened and found the wonderful old couple there. They had candles on the bar and pints lined up for us. They refused to close the pub. ‘No,’ they said, ‘our boys in the army, they need their pub.’ So they moved in to the basement where all the barrels were so that they could keep the pub open, even though it didn’t have a roof!”

    Janson-Smith didn’t come up for release from the army until the end of 1946. It was then that he became a trainee literary agent for the aforementioned A. D. Peters. His duties were more or less everything to start with, and then he became interested in translation and foreign rights. He eventually specialized in that, although in the very early days as an agent for Peters, Janson-Smith did actually place with Methuen the first book by Bryan Forbes, who later became famous not as a writer but as a film director (Whistle Down the Wind, Séance on a Wet Afternoon).

    The relationship with Peters was a rocky one, mainly due to circumstances. The agent had lost his son only a few days before the end of the war; the young man had been due to inherit the literary agency. “So, of course, every time Peters looked at me, he was thinking, ‘That’s not my son and should be.’ So I could never do anything right and he never taught me anything. But there’s no better way to learn a job than being thrown in at the deep end, and I remember very early on having a very angry Evelyn Waugh on the telephone while Peters was away, and I had to placate him.”

    Janson-Smith stayed with A. D. Peters until then end of 1949 and then joined Curtis Brown as the manager of the foreign language department. “I thoroughly enjoyed that,” he says. “I can’t claim to be fluent in any other language, but I can read French with ease—my spoken French is dreadful—and it’s the other way around with German. Because I was never taught, I just picked it up, so I can get by with German; but I can’t read it easily except for contracts, for which I know all the technical terms and so forth.”

    The young agent started selling Eric Ambler’s translation rights in 1952 and eventually got to know him and other Curtis Brown authors. One day in the summer of 1956, Ambler asked Janson-Smith why he went on working with that “extraordinary man” Spencer Curtis Brown and suggested that Janson-Smith go off on his own. Knowing that one had to have an amazing piece of luck on one’s own for the first two or three years, Janson-Smith answered that he couldn’t afford it. Ambler offered to loan the necessary money and become Janson-Smith’s first star client.

    Over the years, the young agent amassed a respectable stable of authors, including Richard Holmes, who has achieved great success as a biographer of major figures of British and French Romanticism. Gavin Maxwell was a notable author of non-fiction, best known for the international best-seller, Ring of Bright Water. Anthony Burgess was a client for a short time, and in fact, it was Janson-Smith who sold the publication rights to A Clockwork Orange in the early sixties.

    “I selected mostly non-fiction authors, especially historians who wrote for the non-academic reader. For example, for Alan Palmer I negotiated a four-book contract which enabled him to give up his job as a school teacher and become a full time writer. I never acted for an author whose work I did not know well or did not admire.”

    In September of ’56, Janson-Smith received a phone call from Ian Fleming. The erudite Etonian said, “I was at a dinner party recently and I mentioned that my British publishers, who control all rights in my novels except for the American, had not done a very good job selling James Bond internationally.” (At this point there had been three 007 novels published by Jonathan Cape Ltd.) Fleming went on to say that although Bond was very English, he thought the character should have a very international appeal. Apparently Eric Ambler had been at the dinner and told him that Janson-Smith made him more money from foreign language rights than from British ones and made the referral. “So here I am ringing you,” Fleming continued. “Why don’t you come to tea at Kemsley House and let’s have a chat.”

    The meeting with James Bond’s creator went very well. Fleming didn’t at that time want an agent for British rights, as he handled those himself. He also had an American agent just for that market, but he told Janson-Smith, “You can have all my foreign translation rights as of today.”

    Immediately after the meeting, Janson-Smith rang up a Dutch publisher called Abs Bruna and said, “I have an author for you who is going to make you a lot of money.” The agent proposed a contract for the first four Bond titles with good royalties but not much in the way of an advance. The publisher signed up and later bought each novel as it came out—and they’ve never been out of print in The Netherlands since.

    Janson-Smith eventually came to handle Fleming’s dealings with the author’s British publisher beginning with the short story collection For Your Eyes Only (published in 1960) and also took care of serializations in the Daily Express. Fleming had already sold the rights in the first four books for the comic strip published in the newspaper, which began in 1957. “It’s amazing that you’ll find many famous authors at the time, even when they had agents, would go off and sell something on their own. Later on I had a real battle with the Daily Express because he’d sold the serial rights in the early ones for an outright sum. Fortunately they sold the comic book rights, which they certainly did not have, to a Swedish publisher. When I found out, they said, ‘Look, it was a mistake and we hope it doesn’t spoil our relationship. Can we come to some accommodation?’ And I said, ‘Yes, I can convert your illegal sale to a legal one on the basis that it’s clear that what you bought outright is what Ian thought he was selling, and that is the right to print your own strip in the newspaper, and we have to have new terms for the future.”

    Despite working with Fleming for not quite a decade before the author’s untimely death, Janson-Smith never really got to know him well. “Ian kept his acquaintances in compartments. He had a separate agent for his film rights and separate friendships for other activities such as his ownership of the periodical The Book Collector. Our meetings were always at Fleming’s office in Mitre Court, off Fleet Street. I’d sit down and start to tell him what was happening, but in those later years he wasn’t very well and had a short attention span. Usually after about ten minutes, he’d say, ‘Well, that’s all absolutely marvelous, you don’t need to tell me any more. I rely on you absolutely, you do what you think is right and I’ll sign the contract.’ I never socialized with him except at a couple of parties, like the Dr. No premiere party, which was naturally full of film people. I suddenly noticed that there was Ian sitting all by himself—nobody seemed to know who he was! So I sat down and we chatted.”

    Not long before he died, Fleming sold fifty-one per cent of Glidrose, his company to which his copyrights were assigned, to Booker, a conglomerate that later came to own shares in several author estates. Janson-Smith joined the Board of Directors of Glidrose at that point. “Ian’s wife Ann was against the sale,” Janson-Smith said. “She was completely paranoid, she hated Jock Campbell, the head of Booker, for some reason. She was convinced everyone was out to swindle Ian. It’s absolutely untrue. If he hadn’t done this, quite apart from the tax in the U.K., he would have had to pay some vast figure in America. I remember I had to go to the U.S. and talk to their Internal Revenue people and convince them that Glidrose was a legitimate company. Our lawyer and I spoke to the IRS representative, and we let him go on until he contradicted himself. At that point our lawyer told the man that he was ‘out of his cotton-picking mind’ and no more was heard of the IRS claim to tax on the basis that Glidrose was not a genuine company.”

    The Ian Fleming Foundation Board of Directors with Honor Blackman at the opening of the Imperial War Museum's exhibit on Ian Fleming.

    After Ian Fleming’s death in 1964, Wren and Michael Howard of Jonathan Cape became his literary executors. After their deaths, this passed to Glidrose. Along with Janson-Smith, Ian’s brother Peter Fleming was also on the board. Janson-Smith later became the Chairman of Glidrose, which changed its name after some time to Ian Fleming (Glidrose) Publications Ltd. (and “Glidrose” was dropped at the end of the nineties). At some point in the late sixties, it was decided to commission a new James Bond novel and Glidrose approached Kingsley Amis. His 007 novel Colonel Sun was published in 1968 under the pseudonym Robert Markham. “Ann was against it,” Janson-Smith says. “She hated Kingsley Amis, she thought he was one of those kitchen sink lefties who would ruin the image of Bond and so on, which is ironic because Kingsley became an extremely conservative old gentleman, but Peter Fleming persuaded Ann that it should be done. Kingsley was the obvious author because he was known to be a fan (his very complimentary review of Casino Royale in the Times Literary Supplement was probably the first to recognize that an important new author had arrived) and he’d also written The James Bond Dossier, so it was quite clear he understood it all.” There was some speculation over the years that Amis had finished Fleming’s posthumously-published novel The Man with the Golden Gun. “I know that many people say this, but I don’t think he did. The Howards thought the book clearly needed editing and they consulted Kingsley, but it was a completed manuscript, so to say he ‘finished’ it is wrong.”

    The seventies brought no new James Bond novels aside from a couple of oddities. John Pearson wrote a fictional “biography” of the character entitled James Bond—the Authorized Biography of 007, published in 1973. “It’s never been considered part of the series,” Janson-Smith says. “It has been a very underrated book. I think it’s very good. Originally Pearson’s idea was that Bond was dead and so this was a complete biography, a clear indication that he wanted to write a book as if this was it and that was the end of Bond. I put my foot down and said, ‘No, you’ve got to have Bond in retirement being interviewed or reminiscing to a friend.’ Secondly, novelizations of the films The Spy Who Loved Me and Moonraker were penned by Christopher Wood in 1977 and 1979, respectively. “We had no hand in that other than we told the film people that we were going to exert our legal right to handle the rights in the books. They chose Christopher Wood because he was one of the screenwriters at the time, and they decided what he would be paid. We got our instructions on that, but from then on, these books-of-the-films became like any other Bond novel—we controlled the publication rights.”

    In 1980, Glidrose hired John Gardner to continue the 007 series. Janson-Smith explains that they had asked H. R. F. Keating, a well-known and highly praised mystery writer, to come up with a short list of authors who might be right to carry on. “It turned out that of them we liked John Gardner’s work, so we sounded him out. We asked if he’d be prepared to write two chapters so we could see. Then he did an outline, which we always insisted upon. Despite Cape not being all that keen, they obviously didn’t want any other publisher to do it. So we signed up John. We got a perfectly satisfactory but not brilliant contract with Cape, but we got a marvelous contract with Putnam, and that happened because I was talking to Peter Israel in Frankfurt. He said he’d just lost a big name author from one imprint in their group and said he had a hunch that the right author to replace him is whoever it is that’s writing Bond. ‘Well, it will cost you, Peter,’ I said. We worked out a very unusual contract which had very low royalties on the hardcover provided that they put X thousand dollars in publicity, and that if it sold more than X, then they would pay an exceptionally high royalty on the paperback. And it worked. They had that promotion guarantee in the contract for the first four books, which of course were the ones that made the New York Times best-seller lists. After that, some reason, the sales fell off as the years went on.”

    After ushering in Gardner’s replacement in 1996 (Raymond Benson, the author of this article) and overseeing Benson’s first five (out of six) Bond novels, Janson-Smith retired. The Fleming family had recently bought back the fifty-one per cent of the shares of the company owned by Booker, and the new millennium brought about changes in Ian Fleming Publications’ board of directors. There were all kinds of new directions in which they wanted to take the literary Bond.

    During his time with Booker and Glidrose, Janson-Smith was also, for some years, a Family Director of Agatha Christie Ltd. and was responsible for the Booker part interest in the works of Georgette Heyer. “When Heyer’s son bought back all rights to his mother’s books, he appointed me his agent. I fulfilled that duty until I founded the Ampersand Agency with Peter Buckman and then I entrusted the Heyer estate to the agency.”

    Additionally, Janson-Smith was, until his retirement on 1st December 2009, for over thirty years the Executive Trustee of the Pooh Properties Trust (i.e. Winnie the Pooh) and was even longer the senior treasurer of the Royal Literary Fund (and for two years its President). He still acts as a consultant with the Ampersand Agency, has participated in the selection of the Steel Dagger Award nominations (an award created in honor of Ian Fleming), and is the President of the Ian Fleming Foundation. Having been married three times (Janson-Smith has four children, seven grandchildren, and two great-grandchildren), he currently lives a reasonably quiet life in London with his fourth partner, Lili Pohlmann (whose late husband, Eric Pohlmann, was coincidentally an actor who voiced the unseen character of Bond’s nemesis Ernst Stavro Blofeld in the film From Russia With Love).

    “At age eighty-seven,” Janson-Smith says, “it is time to call it a day, but I am still a consultant where my experience has a value. I suppose you could say I’m on the ‘inactive duty’ list of the Double-O section!”

    David Winter @ 2010-03-24
  8. CommanderBond.net now on Facebook

    CommanderBond.net now is now on Facebook. Our Facebook page publishes the news from our main site so that you’re never out of the loop when catching up with your friends.

    If you become a fan by Christmas day, you’re in with a chance of winning an Apple iPod Touch 8GB. One of our lucky readers will be chosen at random, and then sent the must have gadget.

    http://www.facebook.com/commanderbond.net

    David Winter @ 2009-12-22
  9. Win Penguin 007 Fleming Boxset

    CBn is giving forum members the chance to win the recently released Ian Fleming boxset, featuring all 14 paperback novels with Rich Fahey’s amazing cover art.

    The boxset has a RRP of around £100, but one lucky member will win one for absolutely nothing, and just in time for Christmas!

    This competition is open to all members of CBn. You must be a registered member of the CBn Forums and answer the following questions correctly to be eligible to win. Not yet a member of CBn? Register here now–it’s free and only takes a minute!

    To enter, answer the following questions and send a Communiqué/Private Message on the CBn Forums to ‘CBn Competition’ (Subject: CBn Fleming Boxset) by Midnight GMT on Thursday, 13 December 2007 (simply click on the link in this paragraph).

    1. Who created the cover art featured in this boxset?
    2. What was Ian Fleming’s first James Bond novel?
    3. What is your CBn forum screen name?
    4. What country do you live in?

    All those who answer correctly will be put into a drawing and the winner will be sent a Communiqué/Private Message via the CBn Forums to the Screen Name they provided to inform them of their winning. The winner must respond to this PM by midnight GMT on the 15 December 2007 with the requested information (name, mailing address, etc) or another drawing will be held. The winner will be announced once shipping information has been received. The item will be shipped from the UK. In the event that a prize has been stolen or mishandled during shipment, CBn will not be able to replace the specific item–this has yet to be a problem.

    David Winter @ 2007-12-08
  10. Marc Forster To Direct 'Bond 22'

    The Hollywood Reporter has announced that Marc Foster is to direct the 22nd Bond film:

    Marc Forster has signed on to direct the next installment in the James Bond franchise for Columbia Pictures and MGM.

    Daniel Craig will reprise his role as Agent 007 in the film, which has a working title of “Bond 22.”

    Forster — whose credits include “Stranger Than Fiction,” “Finding Neverland” and “Monster’s Ball” — recently wrapped “The Kite Runner,” based on Khaled Hosseini’s best-selling novel.

    While some may feel that Forster, born in Ulm, Germany in 1969 is a bit of a departure for Eon Productions, because the recent slate of directors have hailed from the British Commonwealth, Forster will not be the first Bond director from outside the Commonwealth with Terence Young born in China and Guy Hamilton born in France.

    The official press release:

    Marc Forster to Direct ‘Bond 22’

    Marc Forster will direct the 22nd James Bond adventure, it was announced today by Michael G. Wilson and Barbara Broccoli, producers of the James Bond films, Sony Pictures Entertainment, and Metro-Goldwyn-Mayer Studios.

    Forster is the acclaimed director of the highly anticipated motion picture The Kite Runner, adapted from Khaled Hosseini’s best-selling novel. He also recently directed the comic hit Stranger Than Fiction for Sony Pictures. Previously, Forster directed the award-winning and critically acclaimed films Finding Neverland, which was nominated for seven Academy Awards including Best Picture, and Monster’s Ball, for which Halle Berry won a Best Actress Oscar.

    Forster will commence work shortly with screenwriter Paul Haggis on a draft of the screenplay by Neil Purvis and Robert Wade.

    Daniel Craig will reprise the role of James Bond in the as-yet-untitled Bond 22 production, which follows Casino Royale, the highest-grossing film so far in the most successful franchise in motion picture history.

    With nearly $600 million in worldwide box-office receipts, Casino Royale was also regarded by critics as one of the best Bond films yet. Bond 22 will begin filming at Pinewood Studios, London, in December 2007. Columbia Pictures will release the film worldwide on November 7, 2008.

    Wilson and Broccoli said, “We are delighted that Marc Forster, with his exceptional talent and unique vision, has agreed to direct our next James Bond film.”

    Forster said, “I have always been drawn to different kinds of stories and I have also always been a Bond fan, so it is very exciting to take on this challenge. The new direction that the Bond character has taken offers a director a host of fresh possibilities and I look forward to working with Daniel Craig, Barbara Broccoli, and Michael Wilson, as well as the team at Sony and MGM on this new film.”

    Amy Pascal, Co-Chairman of Sony Pictures Entertainment, added, “We had a great experience working with Marc on Stranger than Fiction and we are excited to be working with him again. He’s an actor’s director; he approaches material with intelligence and taste. What makes him the perfect choice for Bond 22 is that he will bring to this film all the elements Bond audiences expect – action, humor, suspense, and thrills.”

    “The Bond franchise is one of MGM’s most treasured legacies,” added Harry Sloan, Chairman and Chief Executive Officer, MGM. “We share Michael and Barbara’s confidence in Marc Forster’s directing talents and support him in his efforts to continue the evolution of the Bond story for today’s filmgoers.”

    Forster is represented by CAA and Management 360.

    About EON Productions

    EON Productions/Danjaq, LLC, is owned by the Broccoli family and has produced twenty one James Bond films since 1962, including Casino Royale. The James Bond films, produced by Michael G. Wilson and Barbara Broccoli, make up the most successful franchise in film history and include the recent blockbuster films GoldenEye, Tomorrow Never Dies, The World is Not Enough, and Die Another Day. EON Productions and Danjaq, LLC, are affiliate companies and control all worldwide merchandising of the James Bond franchise.

    About Columbia Pictures

    Columbia Pictures, part of the Columbia TriStar Motion Picture Group, is a Sony Pictures Entertainment company. Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of filmed entertainment in 67 countries. Sony Pictures Entertainment can be found on the World Wide Web at http://www.sonypictures.com.

    About Metro-Goldwyn-Mayer Inc.

    Metro-Goldwyn-Mayer Inc., through its operating subsidiaries is actively engaged in the worldwide production and distribution of motion pictures, television programming, home video, interactive media, music and licensed merchandise. The company owns the world’s largest library of modern films, comprising around 4,000 titles. Operating units include Metro-Goldwyn-Mayer Studios Inc., Metro-Goldwyn-Mayer Pictures Inc., United Artists Films Inc., Ventanazul, MGM Television Entertainment Inc., MGM Networks Inc., MGM Distribution Co., MGM International Television Distribution Inc., Metro-Goldwyn-Mayer Home Entertainment LLC, MGM ON STAGE, MGM Music, MGM Worldwide Digital Media, MGM Consumer Products and MGM Interactive. In addition, MGM has ownership interests in international TV channels reaching nearly 110 countries. MGM ownership is as follows: Providence Equity Partners (29%), TPG (21%), Sony Corporation of America (20%), Comcast (20%), DLJ Merchant Banking Partners (7%) and Quadrangle Group (3%). For more information, visit www.mgm.com.

    David Winter @ 2007-06-19